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Does he have ridiculous sideburns? Does he die a gruesome death? Is he on screen less than ten minutes total?

I spent a full day making this "Guess who? (is stuck)" The Terror game! Inspired by countless conversations about how hard it is to tell these dudes apart on first watch (and endless shitpost ideas with @merlintintintin ) This was honestly a lot of work, and now I really want to play it! I hope you'll find this cool, I'm personally really happy with the result! Would you play it?

I added Silna because I feel like the two boards kinda represent Terror & Erebus, and she's stuck here with these horrible dudes. Definitely more of a thematic easter egg rather than practical gameplay choice ahah.

To make this I bought a My Little Petshop Guess Who game (I liked the colors) second hand, took forever to cut out all the characters and color grade the pictures on photoshop (this serie is SO DARK, i'm thankful for the official pictures by Aidan Monaghan I also used), made the cards backing mostly using some designs I had already made, and then printed and cut the whole thing by hand!

I may share the template for this later on, if anyone is interested!

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the 1800s were a time of increasing literacy and decreasing cost of printing, as well as a time of anxiety around the Proper Structure Of Society as trains and factory work made it easier than ever for anybody to just pick up and move to a different city where their past was unknown-- prior to the industrial revolution, most people lived and died in the same place their parents lived and died, and everybody knew everybody else's reputation and history.

which is to say, in the 1800s it was fairly common to print lists of rules for things like dress and etiquette and how to correctly signify your social class. from a historical perspective, this does not necessarily indicate what people were actually doing. it indicates what people thought others should be doing, and what people were anxious about the idea that others might not be doing.

but more specifically, mourning! you'll find a lot of rules for women because it's always been popular in the west to tell women what to do. also, a lot of the rules were about family members, although there's plenty of reference to the public wearing mourning for famous figures who died. for hypothetical survivors of the expedition, most of them not being related to each other, they would only be expected to dress in mourning while attending any funerals. officers would wear their dress uniforms, appropriate to their current rank (like, for example, how edward little was promoted to commander in absentia).

there's a kind of fabric called crape that's a dull black (and very hard to care for / keep clean, as a side note) and it was generally considered appropriate to wear a band of crape around your upper arm or around the crown of your hat to signify mourning for a non family member. somber, unadorned, dull, black. any clothing that fit those categories could be considered mourning clothes.

a member of the expedition going into full mourning--only unadorned black clothes, using black-bordered paper for correspondence, refusing all invitations--for someone they lost on the expedition would be considered excessive and/or eccentric by society at large. although, because they're all men, this wouldn't get them in trouble; it wasn't yet Gay And Evil for men to show affection and attachment to each other. in a post-rescue fic, full mourning would be expected of the wives and parents (particularly mothers) of anyone who didn't make it out.

tl;dr on mourning, there wouldn't be any requirements except to dress in somber black for a funeral or funeral-type memorial service. survivors going into mourning for other expedition members would be seen as excessive, but don't let that stop you; people in real life were definitely doing Excessive Mourning for a variety of reasons including genuine deep grief. stares pointedly at queen victoria. someone who wanted to Mourn(TM) without going through the whole wailing & gnashing of teeth would wear plain clothes and a black crape band.

it would also be kind of an interesting part of the culture shock of a post-rescue fic to show the public excitedly going around wearing black armbands and/or hats with little black veils because it's just such a NATIONAL TRAGEDY and we should all MOURN THEIR LOSS in a way that's really kinda ghoulish and performative. what can i say, people have always been getting parasocially attached to the famous.

obligatory plug of my own victorian clothing post

An Amateur Researcher's Tiny Resources List Off Google Search for 1840s Menswear

Full disclaimer, I'm not a historian, and these are just links I found online to help me get an idea of how to draw characters in everday settings when they're not in uniform. The need for this research arose out of a post-rescue fanfiction I am currently working on set in the autumn of 1848. As such, my "research" (ie google searching) only covers the 1840s decade and nothing before or after (the year range I input for searching collections was 1838–1848). Furthermore, I don't know if it's at all possible with my limited sources to find Specific Information on differences between what different classes would wear + what specifically English would wear (and not, say, American or French or whatever) + how new or old clothing would be (did they often buy clothes, was not being able to buy clothes seen as a class signifier, etc). (For the purposes of my fic, the characters are upper class, for example.) Finally, I'll just be placing links here and not actually making a guide out of this post because, well, I should be working on my fic (but I figured what I found could be useful for others; and if any of you want to write something about the information found here / make your own post building off it / provide your own research, feel free to pitch in! But notify me somehow—not so much as to credit me, but because I want to know!).

Good overview of the styles of the Romantic Period (1820–1850 for the men's overview and 1820–1835 for the women): HERE

Wikipedia overview on 1840s fashion: HERE (references listed at the bottom may be a good source as well, i haven't checked)

Blog post overview on 1840s men's fashion: HERE (women's here)

Another 1840s decade overview: HERE (references listed at the bottom may be a good source as well, i haven't checked)

Another brief overview of the 1840s decade: HERE w some images

A Few Images w a Focus on Cravats: HERE (tumblr post)

A Few Images w a Focus on the Men's Hourglass Figure of the 1840s: HERE (same tumblr, different post. this tumblr may have more information under the 1840s tag, i haven't checked yet. EDIT. Just checked)

Idk if there's a categorization system for @clove-pinks (hope you don't mind the tag!!!) tumblr blog but here's the 1840s tag for good measure: HERE

Didn't go deeper into the blog but here's an ask asking for good resources for fashion: HERE (so this would be a great place to look as well)

i'm sure that blog has PLENTY more to find.

This Steampunk costume blog post HERE mentions "In the 1840’s plates, I noticed these colors: black, dark brown, medium brown or tan, navy blue, burgundy, dove grey, a very colorful red spotted or checked fabric on a waistcoat, and several pairs of pantaloons with either striped or checked fabric."

Victoria and Albert Museum Collection of Fashion Plates with the Date Range 1838–1848: HERE (good collection of images like a catalogue of outfits)

Very Long Tumblr Post mentioning all the layers going into an 1830s menswear outfit: HERE (note, this is 1830s, and it might be french. unsure. incredibly detailed post so i figured i'd add it in)

I think other places to look that would be good for referencing just the vibes and whatnot of the era would be to read up on the ideas of the era + the artistic movements + what concepts were circulating at the time. But I'm not here to make that post, just to provide my VERY BASIC researches.

Final note: I can't vouch for the accuracy of any of this! This is just basic surface level research that's good enough for me when referencing outfits for drawing and writing (bc i want to spend more time well. writing and drawing than researching haha.)

Anyways that's my hugely unorganized amateur researcher list I figured I would release into the environment. If any of you guys have any more information / want to add on to this / etc., feel free to!

EDIT: not to even mention what the hell they'd wear for mourning / how long they'd wear it for, if at all. i know there's a lot of stuff for women, but men? i dont know! needs to be looked into

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"Good luck, Edward."

EDWARD LITTLE // SOLOMON TOZER

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screencapping bc i don't feel like engaging with op in good faith lol

if i had a dollar for every time i've seen somebody be like "wait actually it is the TRANSES who are doing a gender stereotype!!" (especially about transfemmes) then it'd be surgeries for everyone

also "all i see here is a man in a dress. you people are the gender stereotypers" lol. lmao, even

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love how jop's hallucination epitomises his dynamic with crozier — not only the perceived abandonment of the present, but his invisibility leading up to it.

I mean, how many times has he been in this position?

stewardship grants him access to command (and a face of crozier) that others are denied, yet it comes at the requisite of servitude. he's close enough to see, but too low to touch; allowed to listen, but not to speak. he's a background piece; a half-thing with a decanter while the real people talk. he's communicated at (rather than with) using a nod or shake of the head, a 'yes' or 'no' to whatever he's offering, in brief asides to conversation — which he can witness but not partake in.

then there's the fact that, when jopson confides in crozier about his mother, it's completely unknown to his captain. it's the first time he's confiding in him (according to garrigan), likely the first personal thing crozier learns about him. and crozier has to prompt him to talk about it, since he doesn't raise the subject or elaborate of his own volition.

when crozier tells him a story, though, jopson is already familiar. he knows how it ends, remembers its details (like names). he's probably heard it countless times before, around those tables, unseen but still listening to words meant for other people. and when crozier asks if he wants to hear it, he says yes anyway, because it's the first time he's performing it for him — talking with (not to) him, looking at him, touching him. he is his sole audience member now.

all that to say: jopson's role as steward positions him as watcher/listener (passive) and carer/informant (active) to crozier. the power differential there says that he may touch, but only in servitude — to attach epaulettes, to sew cuffs. he may share a story, but only when invited to speak. he may act if it's for someone else. but, for himself, he cannot even ask, let alone have.

so jopson crawling on that table, that's not just him crawling to a man he thinks has abandoned him. that's all the time he's spent watching someone who's looking away. that's him abandoning the silence of servitude and asking for himself. it's more or less his only request.

and it goes unheard.

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imo no. he would've gotten about one third of the way to the nearest officer and been modeling the conversation in his head, like normal people do, and it would've looked something like this:

crozier or whoever: i'm very busy john what are you interrupting me for

irving: i caught mr gibson and mr hickey down in the orlop

crozier or whoever: caught who doing what?

irving: mr gibson and mr hickey. um. together. y'know. sin. et cetera

crozier or whoever: you SAW THEM doing [INSERT LEWD VICTORIAN SLANG HERE]?? (irving doesn't know any lewd victorian slang but imagines everybody else does.)

irving: well actually strictly speaking i suppose i only saw--

crozier or whoever: what? two fully-dressed men avoiding work, like all sailors do? and you immediately thought they were LEWD SLANGing?? what is WRONG WITH YOU???

irving: um well you see that is

crozier or whoever: you're not THINKING ABOUT GAY STUFF, are you? ARE YOU, JOHN??????

irving:

all of the rest of command, somehow: I HEARD JOHN IRVING WAS OVER HERE WASTING OUR VALUABLE TIME WITH HIS UNSUBSTANTIATED GAY THOUGHTS

and then he shrivels and turns into a corn cob. in the following days he resolves to tell command and then loses his nerve several times. as time stretches on "WHY DIDN'T YOU TELL US RIGHT AWAY HMMMM SUSPICIOUS" gets added to his imaginary arguments. in the meantime he haunts the orlop and stares at gibson and/or hickey while keeping the full length of the deck away. he is definitely not hoping to catch anybody in the act of doing anything, nor is he wondering what those acts might or might not have been.

hodgson thinks he's come down with something. little is too tired for this shit. crozier eventually gets confused enough to wonder aloud at jopson what's wrong with irving and jopson smoothly lies that he's just been preoccupied by the isolation of their position and it's best to keep him busy.

really, gibson saved him a significant amount of angst by giving him a concrete explanation which he could use as an Opportunity To Show Mercy.

always been curious what people think about this so

share your reasoning in the tags 🧐

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tozer, put those arms down.

sergeant solomon tozer + dog motif

screenshots from the terror (2018) // "over and over tune", ioanna carlson // "cop car", mitski // angriest dog in the world, david lynch // "how to be a dog", andrew kane // the old shepherd's chief mourner, sir edwin henry landseer // "dinosaur", richard siken // "more and more", margaret atwood // "epitaph to a dog", lord byron

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solomon tozer in terror camp clear, the c the c the open c, we are gone;

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me browsing the terror tag

me seeing a random t*rf meme tagged in it for no god damn reason

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Edward Little + 🥺

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I feel like some of you guys think "bad art" is like someone gluing rhinestones to a water melon, or a guy who made his own armchair out of Ohio license plates, or a trashy romance novel where someone says "the blue-eyed one kissed the brown-eyed one," when in reality bad art is a 1000000 Billion Dollar movie where none of the workers got paid and every single creative decision was market tested to see how lucrative of a profit it could foreseeably make to wow shareholders.

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just saved a picture of edward little to my phone in preparation for a difficult work shift tonight. literal Do It For Him hours here. christ alive. at least i'm not still working for that alcoholic

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#guess I just need to come up with/hear more headcanons #please share your headcanons if you have any

because of this post i spent my entire drive to work this morning rotating edward little in my mind

i don't typically like dipping too deep into historical facts for media based on historical facts--i'm not an RPF guy, i prefer to focus on the fictionalization of the real person, what the author(s) chose to include or exclude or imply--bUuUuUt here.

the real edward little was the seventh of twelve (!!) children that all lived to adulthood (!!!!). his father was a purser in the navy, which normally would provide a comfortable middle-class existence, except holy fuck that's a lot of mouths to feed. so i headcanon that he's used to putting on a bit of a front to maintain social expectations (he never drops his uniform! not even at the very end!), but it's more of a fact of life for him than a whole existential Thing like it is for jfj. you keep up appearances, even when it's difficult. that is simply What You Are Expected To Do. like, jfj pretends his whole great gilded life thing because he feels like he's nothing and wants to feel like he's something. edward's more like, he grew up making occasional sacrifices so the family could continue to show the world at large that they were Fine and Good and Never Had To Worry About Making Ends Meet, No Sir.

that was a very big deal in victorian england! living according to your status rather than your actual likes and dislikes, wants and needs. sounds miserable to me but hey, they'd consider MY life pretty miserable without predictability and social signifiers.

being a middle son during that era means not a lot of individual pressure-- eldest sons had to be Responsible in inheriting their father's wealth and debts and business and obligations, and all daughters had to Marry Responsibly because otherwise you'd be a perpetual financial burden on your family.

but here's our nedward, a first lieutenant! he's got a lil bit of an ambitious streak in him. unfortunately by the time his opportunity to lead rolls around everything has gone pear-shaped in ways they never knew were possible. when crozier hands him the gun in ep5 he's internally like NO I WAS GOING TO BE A NORMAL CAPTAIN OF A REASONABLE SHIP NOT THIS UNIMAGINABLE CIRCLE OF DEMON BEAR HELL WHERE THE ONLY REASON NOBODY'S MUTINIED YET IS BECAUSE NOBODY CAN MOVE THE GOD DAMNED BOAT

Thinking again about how we literally get no backstory or personal anecdotes about Little. All we know of him is what we see. He never gets a monologue moment like Jopson, or Hodgson, or even Irving. We pretty much know nothing about him as a person. Only as a lieutenant.

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if u are ever stuck in a story u need to remembr that a piece of paper is quite generously proportioned in the x and y directions. so if you tryto escape a story by living it youll keep going and going a long time and never make it out. but in the z direction it is tightly limkted. so you simply need to stack stories on stories on stories until the page bursts and you r free. scheherazade knew this

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liking an unpopular ship is like being dehydrated in a desert and liking a popular ship is like being dehydrated in the middle of the pacific ocean. you understand

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well, we’re all in the mood for a piAnO–